From my experience, there is limited practice literature in the field of singing which highlights and reflects on both technical and musical problems in popular music. Because of this lack of literature, I wanted to summarise different aspects which are important and interesting for this field in an etude book, and to link them with exercises. The resulting music book for training the voice as an instrument connects the conventional structure of an etude book (which includes etudes, practice pieces, variations) with the particular musical demands of popular music singers.
The individual chapters are centred around this lively developing music and aimed at singers whose singing disposition will not always be the same, despite and possibly because of their level of professionalism. However, even amateurs or semi-professional singers will be able to pull comprehensive tips for developing and expanding their musical-instrumental voice technique from these chapters. Whereby I would like to say from the outset, that the development of vocal technique is not possible without the specialist-methodical input by trained vocal coaches. Consequently, this book can only be accompanying material for regular singing lessons, although vocal-physiological aspects of vocal development and vocal training are also mentioned.
Dealing with singing issues is always a balancing act between pragmatism (physical and medical explanations about sound and the way the voice works) and the real explainable, or very often inexplicable experiences, perceptions, ideas and illusions of singers about singing. Building up experience is not something that anyone (especially not a book) can do for you, but it can support you in it. Notated etudes, exercises and variations can accompany and support a methodical path, which develops musical skills and abilities through relevant training. In this way, this book describes a possible, and not the only possible methodical way to solve questions of musical form and does not offer the solution to individual conflicts and problems, which would in any case only be possible in a limited way by simply reading a book.
This special way of processing and packing of the musical realities in melody (intervals, pentatonic and scales), in rhythm (binary and ternary rhythms as well as syncopations and dotted rhythms) and in harmony (chords and their functional, identifiable progression) offers musically new ideas in vocal training literature.
This book is available in German only.
“Work book for training the voice as an instrument“
This subheading from Martina Freytag’s first book “Vocal Training“ says it all: this is an etude book in which the voice is trained as an instrument and the exercises address singers of popular jazz and pop music with special musical demands.
In the first section, you will find tips for general and practical practicing techniques for daily warm-ups. Part two presents the possibilities for working with the singing literature: intervals, pentatonic scales, scales, chords and dotted/syncopated rhythms. In part three you will find countless amounts of practice material for these sub-chapters which are recorded on the CDs in both a high and a low register.
The focus of this book lies in the development of harmonic and melodic skills and is aimed at experienced singers and professionals. The exercises come with few explanations, meaning the book is perfect for lessons with a teacher, as the teacher brings the relevant knowledge and understanding.
If you work through to the end of this book, you will gain many of the skills necessary for jazz improvisation and for developing your own interesting song lines. The singer must invest lots of time and work, but it’s worth it!
1.1. Development and Training of the Instrument, the Voice
1.2. The Range of all Registers in Etudes and Practice Pieces
1.4. Interval Training
2.2. Pentatonic Scales
2.5. Dotted and Syncopated Rhythms
3.1. Practice Pieces for the Individual Intervals
3.2. Practice Pieces for Pentatonic Scales
3.3. Practice Pieces for Scales
3.4. Practice Pieces for Chords
3.5. Practice Pieces with Dotted and Syncopated Rhythms
4.1. Phonetic Explanations
4.2. Use of Scat Syllables
4.3. Interval Descriptions
4.4. Chord Symbols
Martina Freytag, born in 1969, studied at the University for Music in Weimar, at the American Institute of Music in Vienna, as well as at the Berklee College of Music in Boston. She has been on stage since 1975, leads stage engagements and guest stars as a singer, actress and moderator in the metropolis of eastern and western Europe, Iceland and the USA. She was a finalist at the Federal Singing Competition in 1993 and won the award for Outstanding Work in Jazz Education from the International Association of Jazz Educators, which was awarded to her in New Orleans in 2000, to name but a few of her awards. As a qualified educator for popular singing, she teaches at the Basel Jazz School, gives singing and choral workshops and leads several pop/jazz/ethno choirs. She also composes for the cult musical ‘The Groupies’ and the football musical ‘Goalgetter ‘Soulgetter’’, for which she is the musical director. She has published several books for popular music singers, as well as the solo a capella CD, ‘bestimmt’. In 2001, her biography was accepted into WHO’S WHO INTERNATIONAL.
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